Bullz-Eye Blog » The Jungle Bookhttp://blog.bullz-eye.com
men's lifestyle blog, blog for guysFri, 09 Dec 2016 14:00:02 +0000en-UShourly1http://wordpress.org/?v=4.2.10Blu Tuesday: Arrow, The Jungle Book and Morehttp://blog.bullz-eye.com/2016/08/30/blu-tuesday-arrow-the-jungle-book-and-more/
http://blog.bullz-eye.com/2016/08/30/blu-tuesday-arrow-the-jungle-book-and-more/#commentsTue, 30 Aug 2016 12:30:50 +0000http://blog.bullz-eye.com/?p=58011Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on social media with your friends.

“Arrow: The Complete Fourth Season”

WHAT: After defeating Ra’s al Ghul in battle, Oliver Queen (Stephen Amell) leaves behind his vigilante persona and moves to the suburbs with Felicity (Emily Bett Rickards) to live a normal life. But when Star City is threatened by a terrorist organization called H.I.V.E., Oliver returns as the newly dubbed Green Arrow to stop the group’s leader Damien Darhk (Neal McDonough) – a man with mysterious magical abilities – from destroying what he’s worked so hard to protect.

WHY: The fourth season of “Arrow” is a real low point in the show’s history; it’s as clunky and poorly conceived as Diggle’s awful new helmet. Though past seasons have certainly had their share of criticisms, it’s never been quite this bad. The flashbacks are more pointless than ever, persisting with a plot device that’s no longer necessary, while the Oliver/Felicity romance is horribly mishandled. Even Damien Darhk’s involvement doesn’t seem very well-thought-out. Not only is he too powerful for Oliver and his team, but he only appears when it’s convenient for the plot, going through the same motions over and over until his lame defeat in the finale. However, the biggest problem with “Arrow” (and to a lesser degree, “The Flash”) is that there isn’t enough story to warrant 23 hours of television, resulting in a lot of unnecessary filler. That’s never been more true than in Season Four, and with any luck, it’ll lead to the show receiving a much-needed reset, or at the very least, a return to its grittier, humbler roots.

EXTRAS: In addition to the 2015 Comic-Con panel, there’s a trio of profiles on Damien Darhk, Vandal Savage and Hawkman and Hawkgirl, deleted scenes and a gag reel.

FINAL VERDICT: RENT

“The Jungle Book”

WHAT: Raised by a pack of wolves since he was a young boy, Mowgli (Neel Sethi) is forced to flee his adopted home when the fearsome tiger Shere Khan (Idris Elba) threatens to kill him. With the help of his loyal panther friend Bagheera (Ben Kingsley) and a happy-go-lucky bear named Baloo (Bill Murray), Mowgli navigates the dangerous jungle in order to survive.

WHY: Disney’s live-action remake of “The Jungle Book” is one of the year’s most pleasant surprises – a visually immersive adventure film that pays homage to the 1967 classic without feeling slavish. Though it’s perhaps a little too dark at times, and newcomer Neel Sethi’s performance is wildly uneven, director Jon Favreau deserves enormous credit for what he’s accomplished. Not only is the movie technically impressive, with such photorealistic CG animals and environments that you forget most of it isn’t even real, but the voice cast is pitch-perfect in their roles, particularly Bill Murray, Ben Kingsley and Idris Elba. While the inclusion of iconic musical numbers like “The Bare Necessities” and “I Wan’na Be Like You” has varying results (although the former fits the more lighthearted tone of its sequence, the latter feels completely out of place), the animated version is defined so much by these two songs that it would have been a crime not to include them. Just be glad the vultures didn’t make the cut.

EXTRAS: There’s an audio commentary by director Jon Favreau and a trio of featurettes on production, newcomer Neel Sethi and creating the King Louie sequence.

FINAL VERDICT: RENT

“Star Wars Rebels: The Complete Season Two”

WHAT: As Ezra continues his Jedi training under Kanan, the ragtag crew of the Ghost joins forces with a trio of renegade clone troopers and a secret rebel cell to defeat the Galactic Empire. But despite these powerful new allies, their campaign is met with great resistance by Darth Vader himself, who sends two new Inquisitors to hunt them down.

WHY: The second season of “Star Wars Rebels” is a marked improvement over its debut, but it’s a show that still feels at odds with itself. Though it clearly wants to exist as its own thing within the “Star Wars” universe, it crams in so many references and characters from the live-action movies that it’s a little over dependent on them at times. The writers at least do a better job of making it seem more organic in Season Two, despite the fact that the series really doubles down on the fan service with appearances by Darth Vader, Princess Leia, Darth Maul, Yoda and Lando Calrissian. The problem is that these episodes are substantially better than the ones that rely solely on the core cast, especially the more self-contained, character-driven stories like “The Call,” and that’s because the new characters just aren’t as engaging. Although “Rebels” is still a bit of a mixed bag as a result, the show has become so committed to bridging the gap between the prequels and original trilogy that it’s practically a must-watch for all “Star Wars” fans.

EXTRAS: The Blu-ray release includes a behind-the-scenes look at all 22 episodes, a featurette on how the season connects to the larger “Star Wars” universe, and an interview with executive producer Dave Filoni about the climactic battle between Ahsoka Tano and Darth Vader.

FINAL VERDICT: RENT

“Me Before You”

WHAT: When she loses her job at the local bakery, Louisa Clark (Emilia Clarke) accepts a position as the caregiver for Will Traynor (Sam Claflin), a young, wealthy banker who was paralyzed in a traffic accident two years earlier. But while Will would rather be left alone to drown in his sorrows from the privacy of his family’s castle, the cheerful Louisa becomes determined to show him that life is worth living.

WHY: Based on Jojo Moyes’ bestselling novel of the same name, “Me Before You” isn’t much different than your typical Hollywood tearjerker; it’s a cloying and all too predictable romantic drama from the school of Nicholas Sparks. But despite falling prey to many of the genre’s conventions, the movie goes about it without any hint of cynicism. Although it’s basically a modern day retelling of “Beauty and the Beast” (right down to Matthew Lewis’ douchey, Gaston-lite boyfriend), it manages to succeed as its own story thanks to a pair of solid performances from its two leads. Emilia Clarke, in particular, is like a walking ray of sunshine, so beautiful and utterly charming as the quirky Louisa that she lights up every scene, while Janet McTeer and Charles Dance also turn in good work as Will’s aggrieved parents. “Me Before You” is ultimately pretty forgettable for how much it tugs on the heart strings, but compared to other films in the genre, it’s ever so slightly a head above the rest.

There was much ado when Disney announced that they were going to make live-action versions of some of their most beloved animated films, but so far, the results are far better than what the naysayers were predicting. “Cinderella” was a lovely, if safe, first step, and while “The Jungle Book” doesn’t quite hit the same highs that “Cinderella” does, it’s packed with thrills, and it has the courage to go about the material in its own way. It should be noted, though, that this ‘own way’ may scare the hell out of young children.

Mowgli (Neel Sethi) is a “man-cub” that was found abandoned in an Indian jungle by the panther Bagheera (voiced by Ben Kingsley). Bagheera asks the wolf pack, who recently had pups, if they will take care of him, and they gladly oblige. Shere Khan (Idris Elba), a man-eating tiger, takes issue with the animals protecting Mowgli, threateningly suggesting that more than just Mowgli may die if they continue to do so. Mowgli doesn’t want harm to come to anyone in his pack, so he agrees to leave. Bagheera walks him to the nearest man village, but Shere Khan interferes, and the two are separated. Mowgli is nearly done in by Kaa the python (Scarlett Johansson), but is saved by a sloth bear named Baloo (Bill Murray). Baloo appreciates Mowgli’s ability to make “machines,” but Shere Khan will not stop until he’s had his man-cub meal. Further complicating matters, Mowgli has attracted the attention of King Louie (Christopher Walken), a giant orangutan who wants Mowgli to teach him how to make fire.

Plot-wise, this isn’t far removed from the animated version, but there is one key difference: this film has menace by the truckload. The scene between Mowgli and Kaa is borderline terrifying (some criticized Disney for pulling a DreamWorks and casting the roles based on box office clout, but Johansson has the perfect voice to lull Mowgli into a dreamlike trance, not to mention sing “Trust in Me” over the credits), and Shere Khan is a first-class manipulator and stone-cold killer, knowing the wolf pack’s weaknesses and exploiting them ruthlessly. Sure, the film’s tone is much lighter once Baloo appears, but that doesn’t happen until Act II, and even then, Act III is pretty dark. It’s not the scariest PG movie ever made, but the only ones that are scarier were made before the PG-13 rating came into existence (“Poltergeist,” “Jaws,” etc.). You’ve been warned.

There are two (main) things that keep “The Jungle Book” from being a much better movie. One, sadly, is Neel Sethi. Goodness, does he look the part, the most adorable Indian man-cub you could ask for, but his acting is wildly uneven, which is surprising given director Jon Favreau’s experience directing younger actors to decent performances in “Zathura” (no joke, that movie sports some of the finest work Kristen Stewart has ever done). The other thing is the inclusion of a second musical number. It stands to reason that if any song from the original were going to be included, it would be “The Bare Necessities,” and they handled that one perfectly. It’s not an elaborate song-and-dance number, but two buddies strolling down the river in a crucial bonding moment. The second song, on the other hand, doesn’t fit the tone of the scene at all, and since the song plays over the credits as well (where it works perfectly), why not just leave it there? Did “The Jungle Book” start out as a full-blown musical but had the musical numbers edited out after a few disastrous test screenings, a la the 1994 Nick Nolte bomb “I’ll Do Anything”?

Disney surely has a hit on their hands here (and is already thinking sequel), but there is room for improvement in the “Jungle Book” universe. The voice casting is exquisite (bonus points for finding a role for Sam Raimi), but Sethi needs to step up if he’s going to be the primary live-action lead. In their favor is the fact that they are already past the hardest part, which is that no one cares whether a sequel differs in any way from “The Jungle Book 2.” Still, the studio would be wise to not be complacent going forward.

]]>http://blog.bullz-eye.com/2016/04/14/movie-review-the-jungle-book/feed/0The Light from the TV Shows: The Prequelization Principlehttp://blog.bullz-eye.com/2013/03/07/the-light-from-the-tv-shows-the-prequelization-principle/
http://blog.bullz-eye.com/2013/03/07/the-light-from-the-tv-shows-the-prequelization-principle/#commentsThu, 07 Mar 2013 16:27:05 +0000http://blog.bullz-eye.com/?p=24677You know you’re a real fan of “Psycho,” Alfred Hitchcock’s 1960 film adaptation of Robert Bloch’s 1959 novel, if your first reaction to hearing about A&E’s new series, “Bates Motel,” which premieres on March 18, was to grumble, “They’ve already done a TV show called ‘Bates Motel.'”

True enough: in 1987, NBC aired a TV movie called “Bates Motel,” which starred Bud Cort as Alex West, a fellow with a few mental troubles who shared some quality time with Norman Bates in the state insane asylum and, as a result, finds himself the beneficiary of the Bates Motel in Norman’s will. The intent was to use the movie as a backdoor pilot for a weekly anthology series of sorts, following the lives of individuals passing through as guests of the motel, but when ratings for the movie proved disappointing, the plan for the series was abandoned.

But A&E’s “Bates Motel” isn’t a retread of that premise. Instead, it’s a prequel, revealing how Norman Bates became the kind of guy who’d grow obsessed with his mother that he’d take on her identity on occasion and kill anyone who looked at him sideways.

Oh, wait, you say that’s already been done, too?

Yep, it sure has: in 1990, Showtime produced “Psycho IV: The Beginning,” which pointedly ignored the aforementioned TV movie and showed a very-much-still-alive Norman (Anthony Perkins) calling into a radio talk show about – what are the odds? – matricide, using the conversation as a framing device to flash back to his youth and reveal the bond between Norma Bates (Olivia Hussey) and her son (played by Henry Thomas). It doesn’t exactly hew 100% to the continuity established by the preceding three films, but as a standalone film for casual fins, it holds up relatively well, thanks in no small part to Perkins’ performance.

Actually, A&E’s “Bates Motel” isn’t a retread of that premise, either. Not really, anyway. I mean, yes, it starts at approximately the same point in Norman’s life, and the general idea is the same, in that it’s looking into all the Oedipal-ness of the Norma/Norman relationship. This time, though, it isn’t a period piece. For better or worse, it takes place in present day, which means that it’s arguably not a prequel at all but, instead, more of a complete reboot of the franchise.

Don’t worry, though: the Bates Motel itself still looks just as decrepit and foreboding as ever.

But, of course, “Bates Motel” is far from the first occasion of an existing property has been turned into a prequel for TV. Heck, it’s not even the first time it’s happened in 2013!

Muppet Babies (CBS, 1984-1990): Although baby versions of the Muppets first appeared in a scene in “The Muppets Take Manhattan,” the film only appeared in theaters a few months before “Muppet Babies” joined the CBS Saturday morning line-up, so it’s clear that the powers knew beyond a shadow of a doubt that kids wouldn’t be able to resist the li’l darlings. As it turned out, though, the writing on “Muppet Babies” and the incorporation of its characters’ imaginations and their resulting fantasies made it one of the most enjoyable Saturday morning series in many moons. It’s just a shame that we’re likely never to see a complete-series set of the show, as the funds it would require to secure the rights to include the episodes featuring clips from other TV series and films would be decidedly cost-prohibitive. Sigh…

Star Wars: Droids (ABC, 1985-1986)
Star Wars: Ewoks (ABC, 1985-1986)

Unlike “Star Wars: The Clone Wars,” which was always designed to serve as a bridge between the goings on in the second and third chapters in the “Star Wars” saga, no one knew in 1985 if George Lucas would ever deign to fill in the blanks he’d established for a possible prequel trilogy. As such, younger “Star Wars” fans lost their minds when they learned of “Droids,” which was intended to loosely establish what R2D2 and C3P0 had been doing in the years immediately prior to “Star Wars IV: A New Hope.” Decidedly fewer viewers cared what the Ewoks had been doing prior to “Return of the Jedi,” but we got the answer to that, too.

Not that animated series are required by law to follow their established chronologies, but there’s something really obnoxious about the way Hanna-Barbera decided to cheapen the legacy of two of its most iconic series by saying, “Hey, let’s make ’em little kids and wring a few more bucks out of the franchise!” In fairness, we never really knew how Scooby and the gang got together, so “A Pup Named Scooby-Doo” might well be considered part of the canon, but in the Season 4 “Flintstones” episode, “Bachelor Days,” we got the back story on the first meeting of Fred and Barney and Wilma and Betty, and it definitely didn’t take place when they were wee.

The Young Indiana Jones Chronicles (ABC, 1992-1996)

For my part, I don’t think I’ll ever forgive the way this series, when it was released on DVD, opted to trash all of the book-ending sequences featuring George Hall as an elderly Indiana Jones, presumably because Harrison Ford was getting a little too close to that age by that point. Still, this was a fun series which helped fill in some gaps in Dr. Jones’ history while also helping younger viewers learn history.

Disney may have done to the characters from “The Jungle Book” basically the same thing that Hanna-Barbera did with “The Flintstones” and “Scooby-Doo,” but darned if they didn’t do it in such a beautifully animated fashion that you tend to be more forgiving of their efforts. “The Little Mermaid” and “Hercules,” however, were slightly less egregious in their flashbacks, with the latter actually turning out to be an extremely funny series filled with tons of great guest voices.

Ponderosa (PAX-TV, 2001-2002)

You don’t have to be all that well-versed in TV history to know that the turn of the millennium was not exactly what you’d call the glory days of the western genre, but given that PAX-TV was trying to cater to an older, gentler demographic, it’s understandable why they’d decide that it might be a reasonable plan of action to try and revisit the lives of the Cartwright family and reveal what was going on in the years prior to those portrayed in “Bonanza.” Unfortunately, series with gentler tones don’t tend to draw a lot of attention to themselves, especially when they’re on a relatively small cable network.

Star Trek: Enterprise (UPN, 2001-2005)

The idea of doing a series about the earliest days of the United Federation of Planets was a reasonable one, given the amount of history which had been established in various other “Star Trek” series over the course of the preceding decades. Unfortunately, “Enterprise” spent so much more time trying to create its own new history that by the time the creators realized that they’d made a tactical error, the writing was already on the wall for the series’ fate. It’s a shame, really, as the last series was easily the best season of the bunch.

Clifford’s Puppy Days (PBS Kids, 2003-2004)

We all know that Emily Elizabeth’s love made Clifford grow so big that her family had to leave their home and relocate to Birdwell Island. What we never knew, however, was what life was like for this little girl in the early days of her relationship with her then-little red dog. This was possibly not need-to-know information, as “Clifford’s Puppy Days” only lasted for a single season.

Caprica (SyFy, 2010)

For those “Battlestar Galactica” fans who wanted all the deets on how the Cylons first came to be created, Ronald D. Moore came up with “Caprica,” starring Eric Stoltz as Daniel Graystone, the man who used his daughter Zoe as the model for the very first Cylon. Although critics embraced the series for the most part, viewer became increasingly less enthused, resulting in only a single-season run for the show.

The Carrie Diaries (The CW, 2013)

Since the odds of seeing another “Sex and the City” movie seem to be shrinking with each passing day, it’s not entirely unreasonable for The CW to decide to move forward on a series based on Candace Bushnell’s story of Carrie Bradshaw’s life circa 1984. Surprisingly, the series is a great deal of fun, offering an inevitably awesome soundtrack while providing a sweet, nostalgic look back at day-glo days gone by while offering a bit of new insight into the character of Carrie that was established on the HBO series.